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Russian Constructivism, 2004.
An overview of the history and influences of the Russian Constructivist Movement.
2,221 words (approx. 8.9 pages), 11 sources, MLA, $ 69.95
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Abstract
This paper examines how Constructivism, an artistic and architectural movement, arose in Russia after the Revolution of 1917 and how the Revolution set the stage for one of the most remarkable transformations of artistic theory in the history of art. It looks at how the Constructivists strove to produce bold work in painting, sculpture, photography, and architecture through the use of new media and how they abandoned traditional media and embraced influences from the progressive and technologically advanced industrial society after the Revolution. Although there are many artists who have contributed a significant amount to the movement, it focuses on those made by Rodchenko, Malevich and Popova.
From the Paper
"The reforms of Alexander II brought the emancipation of the serfs and opened the way for industrial development. However, emancipation imposed harsh economic conditions on the lower class and did not satisfy their need for farmland. Industrialization concentrated people in urban centers, where the exploited working class was a receptive audience for radical ideas. By 1903, Russia was divided into several political groups. The autocracy was upheld by the landed nobility and the higher clergy; the capitalists desired a constitutional monarchy; the liberal bourgeoisie made up the bulk of the group that later became the Constitutional Democratic party; lower and middle class were incorporated into the Socialist Revolutionary party; and the workers, influenced by Marxism, were represented in the Bolshevik and Menshevik factions of the Social Democratic Labor party."
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Venus in Art, 2004.
This paper explores Venus?s representation in art through the Classical and Renaissance periods and into the 19th century.
2,725 words (approx. 10.9 pages), 1500 sources, APA, $ 81.95
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Abstract
This paper explains that, throughout history, Venus as a representation of love and beauty has been captured in various media, including the visual arts of paintings and sculpture, music, and drama. The author points out that understanding the roles in history and Greek mythology of Venus, an ancient Italian goddess closely associated with fields and gardens and later identified by the Romans, and Aphrodite, the Greek goddess of love, is important for understanding how artists have been able to use her as a representation of love and beauty. The paper relates that artistic representations of Venus have long been associated with female sexuality as embodied in the ?Venus Pudica?, a statue in which Venus stands erect with her face slightly turned away, one hand over her breasts and the other shielding her groin, displaying both modesty and an alluring nature.
Table of Contents
Introduction to Venus and Aphrodite
Venus and her Roles in Classical and Renaissance Art
Venus and Sexuality
Venus, Madonna, Mary Magdalene and the Female Role in Society
Venus in Contemporary Culture
From the Paper
"During the 18th century, the French painter Fran?ois Boucher also captured the charms of Aphrodite, often depicted her in his most notable work ?The Triumph of Venus.? Boucher?s style was considered to be in the Rococo genre. Rococo by nature is light, playful, and can sometimes be a bit frivolous but proved to be a suitable style for depicting the goddess of love and beauty. This painting indeed conveys to the viewer feelings of delight and joy. Another artist who produced works that depicted the birth of Aphrodite was the French painter J A.D. Ingres. Ingres? work is considered more classical in form that Boucher's version and is part of the artistic movement known as Neoclassicism. In addition, Ingres? work draws inspiration from the past as he depicted her as she emerges from the sea."
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A Picture Story, 2004.
A report of a research project and its goal of creating a short story combining the textual elements of fiction with illustrations ranging from digital photographs to illustrations.
3,265 words (approx. 13.1 pages), 36 sources, MLA, $ 93.95
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Abstract
This paper examines the results of a project conducted by the writer. The writer attempted to create a unique form of pictorial story-telling aimed at an adult audience. The paper discusses the obstacles encountered in achieving the aim of this project. The paper analyzes different methods of drawing. The paper explains why the use of pictures in adult literature is not a popular option.
Outline
Introduction to Pictorial Storytelling
The Idea and Its Influences
Research Process
Writing Process
Conclusion
From the Paper
"The human imagination has given been given the unique gift of communicating abstract concepts and ideas to each other through story telling. All forms of story telling, written, illustrated or spoken, have given the narrator or author the power to enter people's minds with their ideas. One major form of story telling throughout history has been through the use of pictures. The early uses of pictorial story telling were applied though the cave drawings."
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Dr. Seuss and WWII, 2004.
An examination of the contribution that Dr. Seuss made towards WWII comics and animation.
3,254 words (approx. 13.0 pages), 12 sources, MLA, $ 93.95
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Abstract
This paper discusses how the political themes exposed in the WWII political cartoons of Dr. Seuss, or Theodor Seuss Geisel, influenced a number of his later works of children?s literature. It looks at the themes of these political cartoons and the impact they had on his future writings and drawings.
I. Introduction
II. Seuss' Editorial Cartoons in WWII
A. PM Magazine
B. Seuss and Japanese Americans
C. First PM Magazine Cartoon, Virgino Gayda
D. May 19, 1941 Hitler Cartoon
E. July 16, 1941 Isolationist Cartoon
F. The Influence of Seuss? Editorial Cartoons
III. Political Aspects of Seuss' Children's Literature
A. Recreation of PM Magazine Characters in Children?s Literature
B. Yertle the Turtle and Other Stories and Totalitarianism
C. The Sneetches and Other Stories and Tolerance and Racism
D. The Butter Battle Book and the Cold War
E. Marvin K. Mooney, Will You Please Go Now! and Richard Nixon
F. The Influence of the Political and Social Content of Seuss? Children?s? Literature
IV. Conclusion
From the Paper
"The political themes exposed in the WWII political cartoons of Dr. Seuss, or Theodor Seuss Geisel, influenced a number of his later works of children?s literature. Known primarily for his children?s books, Seuss wrote a series of over 400 political cartoons for PM Magazine that explored a variety of subjects, including Hitler, Fascist Italian publicist Virgino Gayda and Mussolini and fascism, American Isolationism, and racism. May of these themes were later explored in his children?s books, including Marvin K. Mooney, Will You Please Go Now!, The Butter Battle Book, The Sneetches and Other Stories, and Yertle the Turtle and Other Stories. Marvin K. Mooney, Will You Please Go Now! reveals Seuss? feelings that President Nixon should resign, while The Butter Battle Book clearly shows that the political and social conscience that Seuss honed during his time at PM Magazine, was active well into his old age. In his children?s book, The Sneetches and Other Stories, Seuss again expanded on the theme of tolerance and the attacks on racism that he incorporated into many of his editorial cartoons from PM Magazine. Similarly, Seuss?s Yertle the Turtle and Other Stories is deeply reminiscent of the dislike of fascism and totalitarianism seen in his PM Magazine cartoons. Overall, Seuss? contributions to the political landscape, while commonly overlooked in favor of his contributions to children?s literature, were significant and important in shaping public opinion, both in an overt form seen in his editorial cartoons, and in the more subtle political messages seen in his children?s books."
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Lighting Techniques in Art, 2004.
An examination of the evolution of lighting techniques in various periods of art throughout history.
2,457 words (approx. 9.8 pages), 3 sources, MLA, $ 74.95
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Abstract
This paper explores how the evolution of sculpture, from the architecturally-based Gothic period to the return to Antiquity and Roman art, and new ideas about light use and perspective in the Renaissance to the very Catholic and extravagant Baroque period, and the many interluding movements that finally brought sculpture to a more modern place in the 19th century with the works of Realism, shows both a desire to return to artistic roots and a need to grow beyond that which has already been created. It explains that each period had innovative techniques and original artistic ideas, which would influence all art that followed by creating a new standard that could be adhered to, added onto, or completely revolted against by the next generation of artists. It concludes that sculpture continues to reflect the movements of religion, architecture, painting, and science in every period of time.
From the Paper
"The human mind is only capable of sight by means of taking light through the eye and interpreting that within the brain. Although people did not fully understand the scientific properties of light until relatively recently, artists throughout time have had the particular challenge of creating an illusion of the existence of light within an art piece. Human sight has an incredible range, feeding the mind images of the surrounding world from near complete darkness to the brightest of sunlight conditions. It is through this range that the world becomes reality, and it is therefore the place of art to attempt to capture this range of light. However, traditional pigments have a very limited range, and therefore the artist must find ways to make the available colors combine to create an illusion that may be interpreted by the viewer as similar to reality. The lighting techniques of painters took a significant turn in the Early Renaissance period which moved their work much closer to nature in appearance through a change in lighting styles, and this continued to influence the art periods that followed."
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Clement Greenberg's and Michael Fried?s Aesthetics, 2004.
Compares the ideas of Clement Greenberg and Michael Fried, relating them to specific instances of art practice.
2,830 words (approx. 11.3 pages), 41 sources, APA, $ 84.95
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Abstract
This paper explores and compares the influence of Clement Greenberg's and Michael Fried's ideas on art and aesthetics and how the reaction to those ideas impacted the development of late Modernism and its transition into Postmodernism.
From the Paper
"Central to both the theoretical stances of Greenberg and Fried is the non-referential nature of high art and the non-contingent nature of artistic practice. This forms part of an ?elitist? view of art, which was to contrast sharply with later postmodern concepts of artistic practice that emphasize an egalitarian ethos and a breaking down of the barriers between the different art forms. As will become clear, for Greenberg and Fried correct artistic practice could not be contingent on and referable to other areas besides that specific mode of art. In other words, ?proper? or pure art can have no subject and cannot be related to social or any other external areas. For both Greenberg and Fried the subject and correct developmental path of art was art itself. This becomes clear if the central tenets of modern formalism are analyzed."
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John White Alexander?s ?Blue Bowl?, 2004.
Analysis of the painting, "Blue Bowl", by American painter, John White Alexander.
965 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
This paper describes the painting, "Blue Bowl", and explains how the artist's use of contrast, line, and color in this painting create the balance and rhythm characteristic of Alexander's work.
From the Paper
"?The Blue Bowl? contains several contrasting formal elements that contribute to its energetic nature. For example, a thick, black background competes with the woman?s milky skin. The contrast enables her figure to jump out of the background, giving her lightness and freedom from an otherwise nebulous environment. Moreover, only part of her skin is exposed, from the nape of her neck and her upper back. The skin here is also far brighter than the skin on her hands and face, which remains in shadow. Most of the woman?s skin remains concealed beneath the dress; like the contents of the bowl and the atmosphere of the room she graces, the bulk of her body is unseen by the viewer. The floral print dress jumps out of the canvas largely because of its color scheme. Just as her skin contrasts sharply with the dark background, so too does the ivory-colored dress, the piece of furniture she leans on with her left hand, and the background of the titular blue bowl."
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Documentary Photography, 2004.
A review of the history of documentary photography and Dorothea Lange, the photographer.
1,980 words (approx. 7.9 pages), 5 sources, MLA, $ 62.95
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Abstract
This paper presents the background history of photography, in general, and the evolution of documentary photography. Documentary photography is described in the paper, illustrating its important role in documenting history. A biographical history of the photographer, Dorothea Lange, is provided in the paper. Some of her works are introduced and analyzed.
From the Paper
"Life is documented daily, whether in newspaper photographs of world events, in feature magazines of faraway places and in photo albums of family snapshots. Essentially, all photography is a documentary of whatever is being photographed for whatever reason. However, traditionally, the mention of documentary photography brings up familiar images from a few twentieth century photographers, such as Ansel Adams, Walker Evans, Roy Stryker, Arthur Rothstein and Dorothy Lange, whose photographs have not only documented culture but has become a part of the culture itself."
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Jon and Garfield in "Garfield the Cat", 2004.
This paper analyzes the characters of Jon and Garfield in the widely-read comic strip, "Garfield the Cat".
811 words (approx. 3.2 pages), 2 sources, APA, $ 28.95
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Abstract
In response to a writing assignment, the author of this paper selects two comic strip characters, Jon and Garfield from "Garfield the Cat", to analyze and then compare with ourselves in order to see how they are actually just reflections of our own political, economic, religious, and cultural situations.
From the Paper
"Comparisons made between comic book characters and the self permits us to become a part of the mindset of the character, good or bad. Further, the transference of self permits us to associate with similar personalities as well as learn about our own personality. Without even giving much thought to the possibility of resembling a Jon or Garfield, the reader has, through situational identification, compared the self with reference to three important human behavioral dimensions; namely, how we perceive the self, how we would like others to perceive us, and how we think others perceive us (Cooley, 1902)."
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"Raftsmen Playing Cards", 2004.
Description and analysis of George Caleb Bingham's painting, "Raftsmen Playing Cards".
1,471 words (approx. 5.9 pages), 1 source, MLA, $ 48.95
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Abstract
This paper introduces, discusses, and analyzes the artwork, "Raftsmen Playing Cards" by George Caleb Bingham. Specifically, it discusses the historical context and aesthetic effect of the piece and looks at why the work is so appealing.
From the Paper
"This art is clearly American Realism at its best. The minute detail of the figures and the raft, the attention to the riverbank and the misty mountains in the distance, Bingham executes all these details with deftness and a real concern for realism. He has even spent the time to recreate distinct personalities for his river men, which are quite apparent with a close viewing of the painting. There is a dreamlike quality to the surroundings, but the main subjects stand out in stark relief. It is clear they are the main focus of this painting, but they also reveal Bingham's realistic style that followed him throughout his lifetime. At a time when there were no commonly available photographs, Bingham captured scenes as if they were shot with a camera, so that people all over the world could see what life was like on the American frontier. His style is consistent with other realists of the time, who strove to capture scenes as they really were, and depict people as they really looked."
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Utopian Images of the Natural State, 2004.
A comparison of Ernst Ludwig Kirchner's "Bathers Beneath Trees" and Franz Marc's "Bathing Girls."
1,165 words (approx. 4.7 pages), 4 sources, MLA, $ 40.95
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Abstract
This paper describes and analyzes Kirchner's and Marc's artistic depiction of utopia in a natural state in their respective paintings, "Bathers Beneath Trees" and "Bathing Girls", and then explains how each artist's perception of that utopia is different. The paper describes Kirchner's vision of utopia as a place of abundant growth, secure, calm, and away from noise and chaos, whereas Marc's vision of utopia is described as one of adventure and fun, where nature joins with man to provide a place of beauty and freedom from worry.
From the Paper
"Ernst Ludwig Kirchner's "Bathers Beneath Trees" and Franz Marc's "Bathing Girls" are paintings of the same subject; three women in nature getting ready to bathe and, or, swim. Both are utopian visions of what each artist felt was ideal. The utopian representation of both artists is seen in the use of an idealistic notion of freedom and a personal response to nature. Freedom is seen in the comfortable presence of the nudes and the use of color in nature reflects the artists? perception of utopian existence."
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Female Artists in the American West, 2004.
An analysis of the work of Laura Gilpin and Agnes Pelton.
1,055 words (approx. 4.2 pages), 4 sources, MLA, $ 37.95
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Abstract
This paper examines how the subject of female artists working in the American West has often been overlooked due to pervasive Western male stereotypes, which include popular media overlays of cowboys, male hero icons, and male activities. It looks at how the environment of the American West has been the inspiration for many American female artists and, in particular, landscape photographer Laura Gilpin and contemporary artist Agnes Pelton. It shows how both artists use the unique vibrant landscape and the peoples of the American West as their subject matter and how, while they differ in their approaches, technique, and underlying philosophy, both artists create unique works of art that explore the outer and inner depth and beauty of the region.
From the Paper
"Agnes Pelton is a more contemporary artist working in a different medium and style to Laura Gilpin and with different artistic objectives. However, the two artists are similar in their use of the unique qualities and artistic attributes of the landscape and natural qualities of the West as a source of inspiration. Pelton initially painted in the conventional representational style but later developed a unique abstract style of her own, which included landscapes. These landscapes differ from the work of Gilpin in that they explore the interior and Spiritual qualities that are manifested through her paintings."
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Albrecht Durer, Raphael, and Bronzino, 2004.
An examination of the works of Albrecht Durer, Raphael, and Bronzino.
1,795 words (approx. 7.2 pages), 6 sources, MLA, $ 57.95
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Abstract
This paper examines how, between the years 1495 and 1538, following the Byzantine/Gothic periods, a powerful new vitality was stirring among the great thinkers and artists, which eventually brought about significant and beneficial changes in the world of art. It looks at how, at the threshold of the modern world, the artist came into his own and successfully claimed his work as being among the fine arts of man created during the Renaissance period. In particular, it explores how, out of the many men who created this epoch of magnificence in artistic expression, three individuals are of great importance: Albrecht Durer (1471-1528); Raphael (1483-1520); and Bronzino (1503-1572). It examines their lives and reviews some of their most famous pieces of art.
From the Paper
"As an artist, Albrecht Durer became the first northerner (being from Germany) to travel to Italy for the prime reason of studying Italian art and its underlying theories. Although Durer did not always succeed in fusing his own native German style with the Italian manner, he was the first northern artist to fully understand the basic aims of the southern Renaissance. His artistic point of view had much to do with his feeling for the form-creating possibilities of line which enabled him to create a body of work in woodcut, engraving and painting. While the art of the Renaissance Period in Italy expressed the monumental grandeur and majesty of figures, color and light, Durer united the northern sense of minute realism with the Italian tradition of balanced forms, massive and simple."
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Italian Renaissance and Artists, 2004.
An examination of the influence that Leonardo da Vinci, Michelangelo, and Raphael had on the European culture during the Renaissance.
2,508 words (approx. 10.0 pages), 9 sources, MLA, $ 76.95
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Abstract
Renaissance (?Rebirth?) refers to the period after the Middle Ages when a series of dynamic intellectual, cultural, and artistic movements, from the 14th to 16th century, catapulted Europe towards rapid development, leading to the Age of Enlightenment, the Industrial Revolution and modern times. During this rich period of exciting developments in arts, sciences, and politics, Italy was the major catalyst and became the cultural leader of Europe. It also produced several outstanding artists, such as Leonardo da Vinci, Michelangelo, and Raphael, who changed the face of European art forever and are worthy representatives of the Renaissance era. This paper is about the Italian Renaissance and the impact of the three great artists on European culture.
Outline
Background
Italian Renaissance and its Emphasis on Art
Leonardo da Vinci (1452-1519)
Michelangelo Buonarroti (1475-1564)
Raphael (1483-1520)
Conclusion
From the Paper
"The period following the eclipse of the Roman Empire around 500 AD until the start of the ?Renaissance? at the start of the 14th century is known in history as the Middle Ages of Europe. The period saw the rise of Christianity and the power of the Church that became a major influence in culture as well as politics. The Christian doctrine focused on salvation and the life hereafter and de-emphasized the worldly life and possessions. The period also saw the rise and spread of Islam, although most of Europe remained under the Byzantine Empire and a fragmented West. Italy?s cities and towns in general became largely depopulated and the country, as a whole, became a rural society after the fall of the Roman Empire. This situation lasted until the 11th-12th century when Italy?s strategic location on the trade routes between Western Europe and the Muslim world and Asia helped revive commercial and trade activity in the region."
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The Artistic Appeal of the French Riviera, 2004.
Explores the attraction of the French Riviera to artists of different types, beginning with prehistoric cave drawings.
2,499 words (approx. 10.0 pages), 6 sources, MLA, $ 75.95
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Abstract
This paper examines the climatic, geographic, cultural, and social attraction of the French Riviera to artists. The paper traces the appeal of the Riviera to artists, beginning with prehistoric times and the rock engravings of that era and concluding in the early 20th century, with a look at the film, "And God Made Women".
From the Paper
"It is not difficult to understand the physical allure, and doubtless that is part of what drew the artists, beginning in earnest with the Impressionists. The Impressionists, it must be noted, were the rebellious artists of their day, the avant-garde. They overthrew the classical expectations of realistic art to, as their collective appellation implies, paint their impressions of things. Most of them were devoted to painting in ?plein air,? or outside. That was, needless to say, more easily accomplished where the air was warm and full of sea breezes so that in winter it was at least possible to be outside in the sun, in spring and fall it was extremely pleasant, and even in midsummer it was not too oppressive."
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Cubism and Sculpture, 2004.
A discussion of the artistic style and movement known as Cubism.
2,028 words (approx. 8.1 pages), 22 sources, APA, $ 64.95
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Abstract
This paper explains how Cubist painters and sculptors rejected many of the formally accepted elements of art in favor of ambiguous and indeterminate representations of art. The paper also describes the unique characteristics of Cubism and takes a look at the importance of the Cubist movement, its influence on modern art, the philosophy behind the movement, and some of the more famous Cubist artists.
From the Paper
"Cubism was a philosophy and style of art that also questioned all established values of art. It also ?created an artistic language of intentional ambiguity?. (ibid) In order to understand Cubist sculpture beyond just its formal and technical innovations, it is important to understand something of the background to the modernist era of artistic re-evaluation."
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Ed Hamilton and the "Spirit of Freedom", 2004.
A look at how African-American artist Ed Hamilton has his mark on the art world as well as American cultural history.
2,500 words (approx. 10.0 pages), 11 sources, MLA, $ 75.95
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Abstract
This paper examines how Ed Hamilton, a contemporary sculptor, believes his greatest passion in life is to teach people the truth of history, specifically African American history, and how his method of bringing truth to the public eye is to conceive of and create memorials to the ?forgotten? African Americans throughout history. It looks at how his specialty is doing public monuments and how he is most known for his work on public memorials that celebrate the achievements of African-Americans, such as his ?Spirit of Freedom? in Washington D.C., which honors African-American soldiers who fought for the Union in the Civil War.
From the Paper
"Born on Valentine?s day, February fourteenth, in 1947, Ed Hamilton has known a great many changes through his life. Although born in Cincinnati, Ohio, he was raised in Louisville, Kentucky. Wanting to follow his artistic urges and knowing a love for sculpting early in life, he attended the Art Center School in Louisville (Bright (Anonymous Biography, Internet source). He graduated in 1969. Unable to support his family entirely on his earnings from sculpting, he chose to teach both sculpting and ceramics to the youth at Iroquois High School while completing his education at the University of Louisville and Spalding University in Louisville. He began sculpting as a career only after becoming an apprentice to the well-known sculptor, Barney Bright (Anonymous Biography, Internet source)."
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"Variations on a Blue Guitar", 2004.
Overview of the style, content and core philosophy of
Maxine Greene's "Variations on a Blue Guitar".
1,050 words (approx. 4.2 pages), 1 source, MLA, $ 36.95
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Abstract
This paper reviews the work of Maxine Greene, an educational theorist, on arts education entitled "Variations on a Blue Guitar". The review consists of three sections. First, there is a report on the text itself and the philosophy of the author,. This is followed by a reaction to the author?s philosophy on the part of the writer and ends with some response and reflection questions for the reader so that the reader may actively engage with the text, as is commensurate with the philosophy of active learning of Maxine Greene discussed and analyzed in the paper.
From the Paper
"The educator and educational philosopher Maxine Greene?s thoughts, in the form of lectures she gave during a summer session at Lincoln Center, have been compiled in the text entitled Variations on a Blue Guitar. Greene?s lectures, conducted while she was still in residence at Columbia University?s Teacher?s College, centered around on the topic of aesthetic education and how the principles of imagination could be infused into the standard academic curriculum. Greene?s ideas, as expressed in these lectures and throughout her life, encompassed both the general principles of human transformation and variation and fused them in a spirit of what she called scholastic rebirth. Education, she believed, could enlarge the human spirit and its capacity for potential, as well as the human mind?s capacity for intellectual excellence."
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